A Quote by Richard Hayne

I don't like all suburbs, just like I don't like all parts of cities. — © Richard Hayne
I don't like all suburbs, just like I don't like all parts of cities.
[Cities] are not like suburbs, only denser. They differ from towns and suburbs in basic ways, and one of these is that cities are, by definition, full of strangers.
The suburb in the 1950s was a bedroom community. The father worked in the city, and the mother stayed home. Now people live and work in the suburbs, and businesses have grown up or moved from cities to certain pockets of what was once the suburbs and created these places that are like cities.
I grew up in the suburbs, sometimes country-like suburbs because we moved around, but mostly suburbs.
The state of New Jersey is really two places - terrible cities and wonderful suburbs. I live in the suburbs, the final battleground of the American dream, where people get married and have kids and try to scratch out a happy life for themselves. It's very romantic in that way, but a bit naive. I like to play with that in my work.
You have a real asset-price bubble in places like parts of California and the suburbs of Washington, D.C.
I don't like going to cities. I don't mind maybe being in a city sometimes for a few hours, but I pretty much don't like cities. I don't even like passing through them.
I don't like landscapes. I like cities. Lots of cities. I like buildings. I like streets.
I grew up in the D.C. suburbs, and what I like about that place is that there's not a strong regional affect in the cultural imagination like there is in Dallas or San Francisco or New York City. You have a little more freedom as a novelist this way. The suburbs become a generic idea, and the place doesn't intrude into the narrative.
Things have changed. The suburbs are developed, but other parts, like where we recorded Spirit and Danse Manatee are still woodland and farmland.
London always reminds me of a brain. It is similarly convoluted and circuitous. A lot of cities, especially American ones like New York and Chicago, are laid out in straight lines. Like the circuits on computer chips, there are a lot of right angles in cities like this. But London is a glorious mess. It evolved from a score or so of distinct villages, that merged and meshed as their boundaries enlarged. As a result, London is a labyrinth, full of turnings and twistings just like a brain.
There are almost no beautiful cities in America, though there are many beautiful parts of cities, and some sections that are glorious without being beautiful, like downtown Chicago. Cities are too big and too rich for beauty; they have outgrown themselves too many times.
They'll touch you and look at your skin to see if it's paint. I'm not playing. All Russia is not like that. You've got your big cities like Moscow, St. Petersburg. Some cities understand that there are black people. They do exist. But the smaller cities, the little villages, they've never seen it.
Maybe you play a melody twice. You play it once like you like it, and some parts that you don't like you can just switch. An eight-bar motive - you can just take it and put it in the front or back or something like that. It can save you 50 or 60 or 70,000 dollars, a drum machine. That's why everybody uses it.
I don't like all these flashy cities like L.A. or Miami. I don't know if I could be the same player if I played in those cities.
When we deal with cities we are dealing with life at its most complex and intense. Planners are guided by principles derived from the behaviour and appearance of suburbs, tuberculosis sanatoria, fairs and imaginary dream cities - from anything but cities themselves.
Gimmicks come and go; the cop show seems one genre that will never leave - not as long as people like to sit at home in the suburbs and see what awful things go on in the cities.
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